Making Banners: Image Placement

Posted December 22nd, 2008 by KEZ

The topic covered today is really something that will boil down to common sense and personal preference. Unfortunately, sometimes “common” sense isn’t really too common.  Banners are small, your art is [usually] large. Fitting large art on small banners is difficult because you have 2 options: show a small piece of the large art, or shrink your large art to fit on the small banner.

Option 1 is usually better. Interested visitors see a higher quality image, and even though there is LESS to see, it is tantalizing in its…lack…of the entire image.  It’s saying “see more! Click here!” without actually saying it.  If you do it right, that is.

Option 2 is what most people seem to go with. What happens though is that the art loses quality, looks squashed, gets blurry and becomes…unattractive.  The only time I’ve seen this done right is on LARGE banners, like 160×600 towers or 728×90 leaderboards. If you have enough room, you can fit more. But if you don’t have enough room, don’t try to fit the 14 co-eds into the telephone booth.

How about some examples? I’m going to go with a middle-size, popular-size banner for linking (200×40px) and a random panel from a recent Not Alone page of mine (last panel).  I need more banners for that comic anyways.

First, I’m going to draw upon my 8 elements of a banner discussed in the first article about this. I’m going to choose a “facial feature” and use my personal logo.  I’m not going to include my URL because Not Alone doesn’t have its own site. I will include a border, action/movement is part of the panel, I’ll be using a monochromatic color scheme, and since this is a panel straight from my comic, the advertising is truthful. If there is room for a tag-line, I will include it.
Option 1, small piece of larger art done wrong, then right:

Why is the first one wrong and the second one right? The first has art that is TOO large on a canvas that is TOO small. It should only take one short glance to discern what is being shown to you.  You shouldn’t have to pause and ask, “what is that supposed to be?”  The second one is “right” because you can easily tell what it is, yet it’s still large enough that it’s only a PIECE of the entire image.

Option 2, “zoom out” done wrong and then done better:

Again, what makes the first wrong and the second right? In the first, the image is so SMALL it is you can’t tell what it is without squinting, the same kind of problem that the bad option 1 banner had, but in the opposite way. The second version of this type of banner is better because you can still see what it is without compromised quality. I don’t call this one “right” because to do a far-zoomed-out banner, you need to choose the right dimensions for the job. This image could not be placed in a way that satisfied me. It is only better, not “right.”

Some other things:

When the image that you choose is facing a certain way (for example, the character on the banner faces to the right), it should face your logo on the other side. The two should face each other, drawing attention INWARD. If the elements faced opposite directions, attention would be focused OUTWARD. Draw the person in. People will look where the character in the banner is looking. So, focus that attention on you, not away from you.

Second, another common mistake I see with small banners is people not wanting to include text at all. It is amazing how small text can be and still be readable. You need at least your comic’s title or logo on every banner advertising your comic. If you can fit a tag line it, do so. The phrase, “fate is a choice” on these banners is set at only 10px high. It was still readable at 8px high, but there was no reason to make it that small.

Making Banners: Animations to come after the holidays are over.

Not quite a tutorial, but close

Posted December 19th, 2008 by KEZ

Photobucket

Something I’ve always loved to see is the process by which other comickers create their work. Usually, a great deal of steps are congruous.  The above image (click to enlarge) in my personal process.

I first start with a sketch. Since my comic is now created 100% digitally, I open up a blank document in Photoshop and just start drawing the first panel that comes to mind, according to the script, of course.  Generally, I like two view points: over the shoulder, or coming out AT you.

The second step is inking. Whether or not it’s correct to call it inking in Photoshop, I am unsure, but the word is close enough.  I resize the sketch from 100dpi to 300dpi, and ink with a 4px, 100% hardness and 0% spacing.

The third step is coloring. I start with flats, filling in the foreground and background in separate layers.  For this nighttime scene, I shade with a very dark, saturated blue on a layer ABOVE the flats, at 60% opacity. I start first with a hard brush doing cel-shading, and then I go back over with a soft brush, since I’ve never been too big a fan of cel-shading.  After shading, I add highlights, steaming light (in this case, moonlight), and glowing light (around the bugs in panel 2).

The fourth step involves lettering and special effects.   I will flatten the image after the third step, resize it back to 100dpi, and then save it as a new file.  I find this easier to work with when lettering, and the smaller file size spares my old laptop overheating during a save.  The main special effects on this page were text balloons and the “night” effect, the latter accomplished with a dark gray-blue layer at 40% set to the “color” filter above the image.

A lot of times with my comic, the third and fourth steps are kind of intermixed. Sometimes you need the high-res version to do the right effects, but I always letter at a lower resolution simply because I know what size text I want to use for web viewing. I don’t have any aspirations to print-publish my work, otherwise I would letter at the high resolution size also.

Short tutorial complete! For a longer, though older, tutorial, you can find it here. It’s five or so pages long, so be sure to find the navigation buttons at the bottom.

Making Banners: Advanced to be continued on Monday evening.

In Lieu…

Posted December 17th, 2008 by KEZ

I’m hella busy with commissions, comics and [attempted] merchandising today, so in lieu of an article by me, please enjoy this post on the Webcomics.com site about Photoshop short cuts. Those of us who digitally ink or color, the short cuts are a saving grace.

http://webcomics.com/2008/12/11/photoshop-shortcuts/

Also, don’t forget to set your OWN short cuts with the ACTIONS tool. For example, I have the select>expand by 1px action set as “shift+f5.”  This saves me probably 15 minutes worth of finding a dropdown, selecting an option, and setting a value per coloring session.

Here is a tutorial on setting Actions in Photoshop:

http://www.dpandi.com/actions/

It uses an old version of PS in the images, but the steps hold true, and it’s short and to the point. Enjoy! More on banners when I learn to control the space-time continuum like Hiro Nakamura. I would guess by Friday. :3

Making Good Banners 2: Advanced Shizzle

Posted December 15th, 2008 by KEZ

Does anyone really know what shizzle means? Anyways!

Making Good Banners 1 dealt with 8 technical elements of banner-making: facial features/eyes, tag-lines, URL, separation, action, color, more than tag-lines, and sexual attraction. I also touched on the importance of having a recognizable logo and ended talking about the dangers of “false” advertising.

This article is going to touch on MAKING tag lines and targeting demographics, placement of images, and when/how to use animations.

1) Tag-line, motto, etc: If you don’t have one, it’s time to sit down and make one. It is one thing to have good art on your banner, but good art alone will get you only half the clicks good art AND a catchy tag line will get you. A tag-line should be short, about 10 words.  In this case, less is better, so if you can get under 10 words and still get your point across, you’re golden.

When you make one of these, what you should do is transmit the overall FEEL of your comic to someone who has never read, seen or heard of your work before. You are not necessarily trying to give them the plot synopsis (that’s what your about page is for!), you are trying to make people click to see your site first, to get them excited, to make them think, “that sounds like something I would like.” Plot-schmot. You are the hunter, they are the prey, your tag line is the bait.  The bait isn’t the whole animal, just a small, tantalizing piece. Now go and get ‘em, Sparky!

Examples! I’ll (yet again) start with my own stuff. I had to make a 600×29px banner for the new, narrower, SpiderForest rotating header for my comic Not AloneI already had a short, tight synopsis, which is what I recommend starting with first if you’re having trouble thinking of a tag line. After all, if you can’t even condense your story into a paragraph, you’re going to have quite the time condensing it into 10 words or less!

Ignoring that synopsis for now, Not Alone is a story about self-discovery, leaving home, trusting yourself and having an adventure. It’s fluff, really, and I’m not afraid to say that. It’s short, it’s cliche, but it’s the stuff people like, especially young women between the ages of 14 and 21, my target audience for that comic.  My tag line is, “Who were you meant to be?” (I like tag-lines that directly ask a question. I find them to be more interactive.)

Pretty much a fluffy tag-line, just like the comic. (I’m considering, “Fate is a choice, not a destination,” but…eeehhhh…..)

What it was meant to evoke: a sense of fate, adventure and discovery. Much like the story of Harry Potter, perhaps you are simply waiting to be discovered. You deserve more in life than you have.  There’s something out there, and you’re missing it!

Targeted demographic: Teens and dreamers.

Here are some more examples, better than mine:

Abandon: First Vampire “The Past Will Bite You.”

SkyFall: “1000 years of war, 6 magical devices, 1 last hope.”

Dreadnought Invasion Six: “Existence to Extinction in One Short Trip.”

Fortune’s Fools: “There are Epic Tales of Chivalry, Honor and Love Undying… This is Not One of Them.” (Could easily be shortened up a bit, but works as is.)

Utukki: “Some People Can’t Let Sleeping Demons Lie.”

Looking For Group is basically a tag line and title in one!

You’ll notice in each of these either a distinct crescendo or a forceful OOMPH at the end.  None of these patter out. They’re almost sharp, like a warning, harsh, like a dark whisper, exciting, or amusing. They are meant to stick in your head, and perhaps (especially Utukki’s) play off something else you may have heard before.  Think of WHOM these tag-lines target. What age ranges? What backgrounds? People who watch what type of TV or play what type of games? You do the same thing. Consider who reads your comic, and then make a tag-line to get more people like them.  If you are going to advertise to people who are NOT like them, you’ll need a tag-line that appeals to another audience.  Always always always market to your audience, because your banners will have poor results if you don’t. Would you ever advertise a minivan to a guy looking for a corvette? No! But you would advertise that minivan to, say, a couple with kids, and perhaps, if you gave that minivan a pimpin’ make-over, flames on the side and rims, you COULD market to the guy looking for a corvette.  But you need to remember, no matter how much you package a minivan to look like a corvette, it’s still a minivan. Changing the packaging may just make the one guy think that hey, maybe he would like a minivan TOO.

(Please note, by minivan and corvette in this example, I am not talking about comic quality. I just wanted two extremely different cars, owned by usually two very different kinds of people.)

Here’s a game for you, to see how well prospective tag-lines can work: NAME THE MOVIE!

“The World Isn’t Ending…We Are.”

“Why So Serious?”

“A Hero Is Unleashed.”

This article is getting longer than desired, and I don’t want to cram more information here. It’s better if these are shorter and to the point.  Animations and image placements in banners will be discussed tomorrow! And as always, my disclaimer: I don’t claim to be a professional or even moderately talented in any of these areas. This is food for thought, based on what successful comics (and or games and movies) already have been doing!  Take what you can use, and put your own spin on it.

Gemini Meteor Shower

Posted December 13th, 2008 by KEZ

Hey guys! This weekend is the Gemini Meteor Shower. Be sure to check it out!

A quick google shows that to find Gemini, first find Orion, and follow his raised arm (not the one that’s often drawn with a bow or shield, or in other words, on YOUR left).  For those of you who can’t even find Orion (shame on you!), it’s the main constellation between S and SW in this image.You’ll see where Gemini is in comparison.

Making Banners 2 to come on Monday!

Making Good Banners Part I: Basics

Posted December 11th, 2008 by KEZ

Making banners for your webcomic is part of an art that’s called “graphic design.” People go to college to learn about graphic design.  You can get degrees in graphic design!

That said, there is no shame in having a hard time making banners for your comic.  This article will feature a couple tips I’ve learned over the years about how to advertise your product, or rather, your webcomic. You need to get used to the fact that you are in fact SELLING your webcomic to people who don’t already read it. These people are buying your webcomic with the currency called “free time.”  Anything you sell must be marketed. In order to market a product, you have to make that product attractive.  For a shallow example, do you EVER see shaving or body wash commercials that feature non-studly men? Ok, ok, I admit, I’m a fan of those commercials. As a woman, I won’t buy those products,  but hey, if I had a boyfriend I may recommend them.

So, how do you make your webcomic “attractive” in a banner? There are 2 ways. With art (color schemes, images, etc) or with writing (motto, tag-line, etc.)  The best banners use both art AND writing, but good banners can be made with either separately if you know how to design!

Before I talk about either element (art or writing), there is something else I’m going to say real quick: It is ALWAYS important to include the title of your comic on your banner. By “title,” I mostly mean “logo.” A logo is something unique to YOUR project that represents it. It is not simply your title in a font you kinda like today and may not like tomorrow, with a couple layer effects thrown in and gradient on top.  You should have one design for the title, so that it is always associated with your comic. A logo can include art too, for example, the Palace in the Sky Logo. On your banner, all or part of your logo should be visible. Even if people don’t click on your banner, they at least know and recognize your logo image.  That in itself is lasting advertising.

Sometimes you really can’t fit your logo on an ad though, and I know.  Sometimes you just don’t have a logo you like. It takes a lot of time to develop a logo! What do you do then? Read to the end of the article to find out.

BANNER ELEMENTS:

Element 1: Faces and/or Facial Features:

What you never want your banner to do is look too crowded, too empty, too garish, or camouflaged into a site’s background. Banner art should draw the eye, not cause the eye to pass it over without seeing it.  A simple way to draw the eye is to INCLUDE eyes (and/or a face) in your banner.  Humans are genetically wired to look at faces and features, and if we see eyes, we look at eyes.  Eyes in banner art should be looking out AT the person, or be focused on something else…something exciting, troublesome, funny, etc! If you include bored or sleepy eyes in your banner, what’s the point? You want to draw attention, not chase it away!

For example, I went a little overboard with eyes in this ad, but it has had great results:

Element 2: “Tag-line, what it’s about, motto, click-me-saying!”

Something the previous button ad also features is a short “what’s it about” tagline. It’s a line I use when advertising to an audience that perhaps doesn’t read or know about webcomics. “Free fantasy online comic.” Here, I don’t even use the word “webcomic” because that’s a confusing word to people who don’t know it. I say “free,” because yeah, some people don’t know they are free entertainment. “Fantasy” is a generic term, just to give people an idea of the genre. I would run this fantasy-associated sites, obviously.  Something like roleplaying or MMORPG-associated sites.

If your comic has a tag-line (mine is “The Four Winds aren’t legend. They’re real.”), use it. The tag-line, like your logo, becomes associated with you and your work. If you don’t have any kind of tag-line, you need to make one. Condense your work into under 10 words. This is important.

Element 3: URL

Another thing the button ad has is my URL. Since I have my own domain name, it’s important to, like a logo/title, make people associate it with me and my webcomic.  I don’t have “twow.comicgenesis.com,” I have WAROFWINDS.com.  Those of you who don’t already have your own domain, I HIGHLY recommend getting one.  It separates you from the rest of the pack, and makes you distinct.

Element 4: Separation

The last thing this ad has is 1px white border surrounding it. By framing the ad, I keep it from blending in to a site’s background or blending into a large group of ads the same size.  You can do this in photoship going to layer properties and selecting stroke, 1px, inside.  For that to work, the layer you choose to do this on must be cropped to the right size. For example, if you open a new document, import a LARGER document, and then try the “inside 1px stroke” part, the stroke will not be visible. Understand? Crop the image to the right size first, or put it on a transparent layer on top, then flatten.

Element 5: Action or Movement

Here is an add that doesn’t include a logo or a face, or a tagline, or a URL, or a genre.

This is an ad that I would use on strictly webcomic-only sites, where a reading audience knows that the ad has something to do with webcomics. Thanks to Project Wonderful, that kind of targeted advertising is possible.  This is an “action” ad. It shows weapons, a hint at tattoos, and a medieval/non-technological time period judging by the clothes. Even if I don’t include the word “Fantasy” it still says it. I include my title in an aesthetically pleasing matter on the side. This way, I’m not advertising the title. Here, the ART is first, when the eye is drawn and someone becomes curious, they see the title. It is NOT they see the title, and then they see the art.  Put your most attractive “foot” forward.

Element 6: Color [schemes]:

Sometimes you have art that is not distinct enough on its own, or that doesn’t have a natural color scheme, and you need to make your own. Color theory is, like graphic design, something to be studied. I’m only going to touch on it lightly. I’ll start first with black and white:

This ad is Just the logo and a silhouette. This ad is stylish, but says only that it has something to do with “dogs.” It says nothing about it being a webcomic, that it’s fantasy, the art style, or the plot. This is an ad I use ONLY for comic-comic linking purposes. People will KNOW it’s a webcomic if it’s found in another webcomic’s links list. This ad design is not one I use when advertising my comic because it doesn’t have enough information. Design-wise, I love it. It’s distinct and pleasing to the eye. But I would expect click-thru’s to very low using this style ad on project wonderful.

This had a complimentary color scheme. It uses blues and oranges.  Complementary colors attract the eye, but do remember TASTE and SUBTLETY. Don’t go overboard on supersaturated, bright colors just to make people look at your ad. Who clicks ugly, annoying ads? No one. They actually make a point to NOT click. Just because you draw attention to your ad doesn’t mean it’s always a good thing.

Something to remember with colors is the emotions certain schemes evoke. Do you want exciting colors (orange, red, yellow; warm colors; bright colors) or soothing colors (green, blue, purple; cool colors, dark colors, unsaturated colors)? Warm colors can also be aggressive, whereas cool colors can also be depressing. For more on color theory, google it!

Element 7: More Than Tag-Lines:

Larger banner sizes let you put more information on your banner.  Use that room to your advantage! Include as many elements as think important. Don’t crowd it, and always leave breathing room (for articles tangential to this topic, check out YWCSBS’ features on text balloons) . Imagine that people have 3 seconds max to see your banner. ONLY THREE. In those short seconds, what is the important information you want to impart?  Find a way to do that. If it takes longer than three, you probably put too much on there.

There are, of course, exceptions to the 3 second rule. Animated banners, for one, and really great art for another. The more a banner can capture attention, the longer you have to impress a person with words.

Element 8: Sexual Attraction:

The last element I’m going to talk about is the crudest, yet often best performing method: boobs, babes and big weapons. I include the last here because, well, in my experience, men can often find swords, guns and mecha just as attractive as women, and 18-24 year old men make up the majority of the webcomic viewing audience thanks to PA, CAD, Apple Geeks, etc.

If you want visits fast, make a pr0n comic, and advertise for it with the wares you draw. Have you seen the ads for Cru the Dwarf? Have you seen how fast that webcomic has risen in the ranks? Hey, it works, and that’s all there is to it.

——

What about “false advertising?” Displaying art that doesn’t appear in your comic? Displaying color ads when your comic is B&W?  NOT A GOOD IDEA.  Disappointed readers leave fast. If they come expecting a certain product and you don’t live up to your part of the bargain, your comic had better be good enough to keep them anyways.  The best policy is to include art directly from your comic.

Any other elements you can think of that I missed? Leave a comment and I will append the article. These are for reference, not to satisfy my vanity.  I also apologize for using only my own banners in this. I feel uncomfortable critiquing others’ banners.

Tomorrow: Making Banners Part II: Advanced.  Making animations in ImageReady, choosing art, creating tag-lines.

Before I get into this, I want to say again that I am CERTAINLY not a professional in the area of making money with webcomics.  All of these articles contain only my personal experience. I just don’t feel YOU should have beg and dig for scraps on this kind of thing as I had to. So, onward!

In lieu of the new and improved Advertising 303 article, here is Advertising 404: how to set up default campaigns. Setting up defaults leads to the creation of an ad chain. This article will talk about the pros and cons of chains, the placement of ad networks in a chain, and the concept of frequency capping.

I’m going to start by defining “default” and “ad chain” again. A default is the name given to a passed-up pageview.  Say that you get 100 pageviews a day, but your ad network only fills 60 of those 100, for whatever reason.  Those extra 40 are called defaults. They “default” to another ad network if you have one, or public service announcements if you don’t. You are not paid by a network for default views, but you ARE paid for default views if they are sent to another network.   If you set up one network to default to another, you have created an ad chain.  A chain may have multiple “links,” or in this case, networks.

Since ADSDAQ is no longer a viable source of income for webcomickers, I’m going to start with Adbrite. Adbrite is the first link in my ad chain because you can set a CPM price to beat. For example, I have it set to default every time to my NEXT ad network if the CPM of an ad Adbrite wants to show is less than $1.50. It doesn’t make much compared to ADSDAQ, so Burst Media has now become my first “real” ad provider instead of my second. I only have Adbrite first because you can set “the CPM to beat.”

How to set up a default in Adbrite:

1) log in to your “publishers” area.

2) click “manage ad zones.”

3) Set up a new ad zone if you haven’t already. You CREATE ad spaces based on the size of what ads you want to show.

4) Click “pricing options” (or “next” if you are just now creating your ad zone.) Select “yes” for “are you already using other ad networks?” Set your CPM to beat. If you a site with small traffic, keep it low, one dollar or under.  You can change the CPM at any time. You’ll want to experiment with different prices for a week or two to find your optimum range.

5) Okay, now you see that big empty box beneath? This is where you insert the tag code from another network. Copy and paste the ad code for the same size ad as the one you just created.

6) Copy and paste the ad code for ADBRITE onto your site. Now, every time that Adbrite defaults, it automatically is sent to the other network even if you do not physically copy and paste that second network’s code onto your site. Very simple, yes?

How to create defaults in Burst:

Burst is a little more difficult than most other networks because it requires a html or image redirect in place of copy and pasting code. I’m going to use screenshots here, because I’m told the Burst set up is confusing. I don’t find it so, but if you don’t know what you’re looking for, I can see why it would be.

1) Go here:

2) Choose your desired size in the dropdown.

3) Click “add new default campaign” a gray button on the right.

4) This form will pop up:

Where it lists the “http://” part, you insert the address of a html page that contains ONLY the code of the desired default ad. Basically, Burst will only default to an iframe.

If Burst is your primary ad provider, you insert Burst’s tag code onto your site, and the code will automatically default to the iframe.

Frequency Capping:

Frequency Capping allows you to maximize your revenue per user session. Basically, you get to decide how often a specific default will get shown so that THAT default won’t default. Defaults only happen when ad providers either 1) don’t have enough advertisers to show on your site 100% of the time, or 2) realize that they are showing the same ads to the same users often enough (without good performance) that they are losing money, so they no longer show it.  So, if you set a frequency cap, YOU decide how often to show the ads, NOT the provider.  You can’t make it show MORE ads that I’m aware of, but you can make it default to other campaigns when you want to.

Not all ad providers allow you to set a frequency cap. You can on Burst, for your default campaigns, since you can have multiple default campaigns per ad size.  Here is what the form looks like:

Weighting refers to how often the campaign appears. Consider it a percentage, except out of 9999 instead of 100. Min CPM is the minimum CPM (cost per thousand views) you will allow to show through this default campgain. And then there’s frequency cap. Burst allows 0-10 views per browser session, or [up to] continuously for 2 hours. This is something you will simply have to experiment with, as the optimum cap changes from site to site.

I have 8 default campaigns set from Burst, 6 of which are free advertising for webcomicker friends of mine.  For these 6 “free advertising” campaigns, I have only weighting. I only set a frequency cap if I set a minimum CPM.  I know the difference weighting and frequency capping is a little hazy, but be aware there IS a difference.

The Order of Your Ad Chain:

Y’okay, so, if you have 2+ ad networks, you should have set up an ad chain. The question now becomes, what order do you make the chain? Always set it up by which one pays the most OR which one has the highest eCPM and fill rate (eCPM is average CPM).   For example, I have Adbrite first in my ad chain, since it will only display ads higher than my eCPM on Burst. I know this, because this is what I set in “pricing options,” as discussed in how to set up defaults on Adbrite.

How Long Should Your Ad Chain Be?

I don’t recommend more than 5, and that’s pushing it. The reason I don’t recommend more is because each default makes your site lag more and more.  It takes time for these networks to bounce back and forth to find an ad to display. Also, each network further on down the chain sees less and less pageviews, getting lower CPM ads.

I was just accepted into a place called Adtegrity, which guarantees a 100% fill rate (no defaults).  I’m going to try this and see how it works, and will let everyone know. I applied to Direct Media Exchange, which handles all defaults at once, from a single interface, which is extremely convenient. I however, was declined.

Advertising 303 REDUX coming soon.

Posted December 8th, 2008 by KEZ

Those of you who keep your ear to the webcomic battleground may be aware that this past week, ADSDAQ, an ad provider I’ve mentioned quite a lot on here, is going through and declining all sites that have comics. It even states in the declination letter that the “undesired” content is in fact, comics, anime and manga.  Apparently, adding the context around the entire site does not make up for simply publishing a visual product. Yet again, comics get the shaft. However, this does not mean that adding the extra text content is no longer important. It is still important to increase SEO, regardless of what ads you show on your site.

So, since ADSDAQ is no longer a viable source of income, I will be changing my Advertising 303 article to reflect this change. Instead of ADSDAQ, I’m going to talk about Adbrite, Adsense, CPMstar, [Burst], and others. I applied to a bunch of networks last week in anticpation of having my site dropped by ADSDAQ, and I’m still waiting on a couple. In the mean time, Advertising 404 is going to go up tomorrow about how to set up ad chains, set up defaults, and which networks to put where in the chain, and more.

The SpiderForest webcomic collective is now accepting applications from interested comic creators to join their growing network of quality comics.  SpiderForest will consider comics of any genre or style until December 31, after which decisions will be made by private member vote, and applicants will be notified via email.  Minimum requirements for joining and directions to apply may be found on the Apply page.

SpiderForest is both a collective and host that offers freedoms in website administration not available on free, public webcomic hosts such as Comic Genesis, Drunk Duck or Smack Jeeves. It also offers notoriety upon acceptance simply by requiring an admission process, multiple choices in comic archival systems, website building and administration assistance, a subdomain at [domain].spiderforest.com (and/or hosting for an already-purchased domain name), and an instance audience via the mandatory rotating banner at the top of every site.  Founded in 2004 as the sister sites “Spider Forest” and “Spider Spawn,” which catered to fantasy/science fiction and humor comics, respectively, earlier in 2008 the networks merged into a single, unified entity simply called “SpiderForest.”  Current members include such long-running comics as CAT LEGEND, by Katrina “Kat” Santoro, EMERGENCY EXIT by NJ Huff, NAHAST: LANDS OF STRIFE by Alejandro “Al-X” Melchor, REQUIEM by James Roden, SPECIAL SCHOOL by Andy Mason, and THE WAR OF WINDS by Karen “KEZ” Howard.

SpiderForest currently hosts 16 active comics, 3 complete comics and 10 inactive or on hiatus comics. An unspecified number of spots are open for new members, and not all applicants will be accepted. To request more information on the application process, or to pose questions to current SpiderForest members, please visit the SF forum or directly email members via information found on the About SpiderForest page.  More detailed information about the benefits of acceptance may also be found on the Apply page.

The next round of admissions to the network starts June 2009. Good luck to all applicants!

Novel Chapter 1 Revised

Posted December 6th, 2008 by KEZ

Those who read the comic should be aware on some level that the comic is the adaptation of the novel, which I am currently editing.  I say “should” because I blather on about it a lot.  At 25 chapters and over 500 pages (that’s single spaced, mind you :P) editing it is…torture. BUT! This is the revised version of chapter one, and I’m seriously thinking about redoing the comic chapter to match it. It contains far more clues than the original, and makes far more sense come the current chapter (Chapter 7.)  I’ve currently only edited up to the middle of Chapter 6, but I’m working my way up.

10 Years Later

Chapter 1 - Bad Decisions

Domain South:  Continent of Gan-go, in the city of Goranga.

Talon crouched at the ready on a thick branch of a tall, hardwood tree.  His back was braced against the smooth-barked trunk, and one hand rested lightly on a bough above.  An empty satchel hung across one shoulder, carefully tucked behind an arm so that it would not hinder him when he moved.  A knife was hidden in the folds of a blue sash at his waist, easily accessible. In his clothes of dark gray, Talon knew he was invisible to everyone who walked below him in the Upper City of Goranga, even despite the light of two small moons. He grinned. This is going to be too easy.

He tightened the fastenings of his boots and readied himself for a quick, silent dash down the length of the limb. It was a staggering height at which he rested, but he knew the danger of dwelling on the danger.  He knew he had to visualize the straight line to his goal, and realize the bough was wide enough to walk, never mind the three-story fall to a cobblestone street. He breathed lightly, and the night air was exhilarating compared to the sticky heat of a Gan-gonian spring day. Able to hear his own heart beating with excitement, he dashed.

In three long seconds he arrived at the end, not pausing for even an instant when the limb forked into smaller branches that were not strong enough to bear his weight. He leapt, using the wooden recoil to give him extra distance, and landed with a roll on a gently-sloped, tiled roof.  From there it was only a quick jaunt to the peak and a slide down the other side, right onto a small terrace of wrought-iron grate. As it had been the past two nights, the bubbled, glass doors were cracked open to allow a cooling breeze.  No sound came from within.  Talon checked his exit, a simple drop to a ledge overhang, and then another drop to the ground. From there, a sprint to the cover of shadows across a wide street and then back to the rooftops.

Simple entrance, simple exit, never panic: Talon’s only three rules of survival.  He used the excuse of a strong breeze to help test the smoothness of the hinges of the terrace door; they were silent, and he pushed them wide enough to let his body slide through. Crouching down to the side, he let his eyes grow accustomed to the dark inside, waiting impatiently as he made out the form of a wide, canopy bed, draped in white linen, bookshelves stacked to the brim, leather covers worn with use, and a vanity table, on top of which rested a small, open, chest.

Talon felt his heart jump at the thought of how much money could be inside the chest, but did not move fast; he knew better.  Speed led to clumsy mistakes, bumps in the night that woke up light sleepers, and most of all, getting caught. Thieves in Gan-go quickly learned to be good at what they did, and thieves of fortune who did not learn fast enough found that the punishment of being skinned alive too high a price to pay for the rare reward of gold.  Talon however, like most thieves in Goranga, was a thief of necessity. He was broke. He was hungry. His sister would most likely throttle him if she found out. Doesn’t mean I can’t have a little fun while I’m at it.

The thief traveled towards the open chest first, stopping suddenly when he felt a sneeze coming. Swearing inwardly, he stifled it as his eyes watered and burned. Another came, and he caught it in his throat, bearing scratchy tingle silently. In a thin beam of moonlight that made it through the open doors, the thief realized the entire room was filled with dust, as though no one had lived there for years. That’s impossible! I just saw her two days ago!

He could remember her clearly. Her hair had been such a light blonde it seemed white, and she was tall-elegant-which was why he had bothered to come back the second night…and the third.   Someone lives here! Talon growled to himself, stifling another sneeze in the back of his throat.  He moved to the canopy bed to confirm someone indeed slept inside, but stopped himself. Money first, he remembered. Curiosity later.

With a frown, Talon moved to the desk across the room.  His fingers found the open chest and gently felt around inside it.  Suddenly he grinned, discovering that, as he thought, it was filled with coins.  He took the first out slowly, sure to make no noise, and noted it was oddly wide and heavy. He shrugged, and one by one he took enough to fill his hand, gently placing each coin in a padded pocket in his satchel. He made himself stop at nine, wanting to take more, but cautious lest he be weighed down, discovered too soon, or simply make too much noise.

Talon turned away then, knowing that with even so little coin he would have enough to live comfortably for at least a month, and headed towards the foot of the bed. His fingers found a break in the gauze netting and silently pulled it back, just enough that he could see inside with the moonlight behind him.  Beneath a thin layer of red, silken sheets, he could see the outline of a woman’s body. Curiosity temporarily satisfied, he turned to leave, but something made him pause: the body, under the blanket, it was not breathing.

Despite himself, the thief felt a shock. He had seen plenty of dead bodies before, victims of muggings or starvation, but if somehow he were tracked back to the lady’s house, he could be blamed.  He closed the curtain, and moved to the top of the bed, pulling the veil away for a closer look. The woman was on her side, facing him, though her hair covered her face. Talon waited for a long moment, watching for the rise of her chest as the swearing in his mind grew louder. You need to get out of here, Talon, an objective part of his mind advised.

But there was something else. As dread grabbed hold of his belly, the thief reached out and moved the hair draped over the face, revealing a wound across the woman’s neck.  There was no blood, but it looked fresh, more like a burn than a knife slash. The skin around it was puckered and pink, as though it had had time to heal-belying the look of the burn. Talon moved the hair more, revealing her face. He felt the blood rush from his head, and his skin grow cold. It was the same lady he had seen before, that much he could tell from the resemblance, but…it can’t be. She looks ancient!

The woman before him was aged, weak. The bones of her face were stark beneath slack skin, and her silver hair was limp, thin and ragged as old thread. Even as he watched, Talon swore the body seemed to decay before him. Her skin was so thin it was translucent, and the veins beneath were blue.  The thief took half a step back, unable to contain his disgust.  The stench of rot clung to his nostrils, worming its way to his stomach.  He put a hand to his mouth, quelling the urge to not only gag, but also leave.

There was something in the woman’s hand.

It was small, but from the way her fingers clenched it, it was something dear, something valuable. He could not see what it was-only that it was thin and circular, and tied to a leather cord.  He reached for it, and as his fingers grazed her hand, the woman’s body shuddered, releasing a breath. Her eyes fluttered open for a second before closing.  They were gray and milky, blind with cataracts and age. Winds, she’s still alive?

Talon waited for a shriek, a murmur, for the woman to awaken fully at his presence, but she merely groaned as though in pain.  You should get out of here, Talon, he told himself again even as he reached for what was in her hand a second time.  She tensed, breathing shallowly, but did not wake as he carefully peeled her gnarled fingers back one by one. Finally, the ring-though it was far too large and flat to wear on a finger, it was the only word to describe it-rested limply on her palm. Ignoring the voice in his head that shouted at him to leave the thing, he took hold of the ring.

The instant the flesh of his fingers touched the metal, Talon knew he should have listened to himself.  The old woman reared up in agony, her back arched close to breaking as she screamed, and though she ran out of her shallow breath in only a second, still she continued with a hoarse, guttural groan.  The wound on her neck burst open, no longer half-healed but fresh and raw, dripping blood-spraying it-an arm’s length away as Talon stumbled backwards.  He felt hot droplets land on his face, and swiped them away with his sleeve before he could think about what they felt like.  The woman turned to him then, one claw-like hand grasping the wound at her throat as blood bubbled through her fingers, and the other reaching out to the thief.  Her eyes, though unseeing, unspeaking, shouted at him nonetheless.  A second later, she fell limply, finally dead.

Talon felt something burning in his left palm like a coal and looked to it.  What he saw terrified him as much as the woman. In the moonlight, he could see his palm was covered in blood. The ring was embedding itself in his flesh, sinking deeper beneath the callused skin.  Swearing, he regained his feet, digging into the workings of his own hand in vain.  The pain was excruciating, and chills ran up his spine as cold sweat beaded on his forehead.  Blood pooled beneath his fingernails, and pawing the slippery mess of his hand, the thief could only bare his teeth at the futility and the pain.  He gasped and finally made himself stop, ripping a piece of the red silk from the coverlets and wrapping his palm.

“By the Four Winds,” he swore, tying the silk tight. “What the hell is going on?” Breathing far too fast, the thief found he could not leave the room fast enough.  The edges of his vision were dark as if he were about to pass out. He stumbled through the balcony doors, and with one leg stretched over the wrought-iron guardrail, he yelled in fright when a hand on his shoulder grabbed him back.

“What have you done?” a voice snarled in his ear.

The thief tried to turn, tried to see his assailant as he was dragged backwards, but the grip on his shoulder was too strong.  All he could tell was that it was a man, a very tall, very strong, man.  Talon did not hesitate as he reached for his knife, drawing it from his sash to stab backwards twice.  The hand released after a painful grunt, and hot with fear, the thief thought only of escape. He leapt over the guard-rail, landing awkwardly on the ledge below only to fall immediately to the ground. He landed in a rough hedge, rolled out of it, and raced away.

He did not look back, not as he dashed through the expensive gardens of private mansions, scaling the stone walls that separated them.  He did not look back as he crossed his own trails, confusing anyone who may be tracking him. The burning on his palm began to fade, and with it his fear of what had happened. No one was following him.  He was safe.

He made his way back to the rooftops, and then finally, back to the Lower City-where the slums and the shadows felt like home.  He paused on the wide, flat roof beneath streaming moonlight and looked at his hand. The wrapping was too tight, and it was annoying him.  Curiously, he felt his fear and disgust fade as he untied the silk and let it fall.  The skin of his palm was whole and unmarked, without sign of a wound.

Why had he wrapped it in the first place, he wondered?

He let the silk fall, and he did not notice as the wind blew it away. The events of the night were distant, growing dim.

Where was he?

Talon ran a hand through his hair.   He was confused, and could not remember why.

I’m hungry, he thought.